magiadoreal

"Italy for us used to be D'Annunzio enphatic declarations, Mussollini's spetacular redundancies, Sciopenesque pastiches, Quo Vadis 's Roman orgie, Rondomonte printed in a million copies. Now all these prejudices have to be revised. (comentário de um crítico francês quando do lançamento de Roma: Cidade Aberta no Festival de Cannes apud Tag Gallagher, The Adventures of Roberto Rossellini , p. 217

Fellini cites Paisà as the turning point in his life. Before it, he had undertaken scriptwriting without enthusiasm; movies had not interested him as much as journalism or caricatures. When visiting a set, he had never felt at ease or understood what all the dozens of people were doing; it felt absolutely foreign. Then "seeing Rossellini at work, I discovered for the first time that it was possible to make films with the same intimate, direct, immediate rapport as a writer writes or a painter paints. (...) Looking at thing(s) with love, and with the communion that is established from one moment to another between a face and me, an object and me, I understood that the profession of director could fill my life, could be rich enough, passionate enough, exalting enough, to help me to find a sense in existence." Tag Gallegher, The Adventures of Roberto Rossellini , pp. 193-4.

As with Chaplin, love is always the moment of truth for Rossellini, always sincere and ingenous; but unlike Chaplin, Rossellini's poetry is never studied, and the "acting" in such scenes [episode Sicily in Paisà ] often seems "bad" (Tag Gallegher, The Adventures of Roberto Rossellini , p. 188)